Theater League's The Who's Tommy at the Orpheum Theatre
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 2/22/00
(out of )The Who's Tommy. In some small way, we all grew up with this great rock opera. Or, perhaps, some of us didn't; after all, it has been nearly thirty years since The Who first presented it to the world. For rock classics, though, it's up there with Pink Floyd's The Wall and the Beatles' Sgt. Pepper's. As great a piece of music as it was on vinyl, it didn't transfer as well to film, where director Ken Russell drew out some great performances, but indulgently didn't know when to say when. Then, somebody came up with the idea that, with a little more clarity, some incidental lines, a few snips to old songs and a couple of new songs, this rock opera could become musical theatre. Well, this Who fan is here to tell you that it can't, and that's a shame. I actually understood the plot of this creation better than I ever have, yet this is a hollow victory, as the clarity highlights how little actually happens.
With these thoughts put to the side, there is still the fact that some of the greatest rock ever written is struggling to get out of this piece, and some wonderful performances wasted on trying to make it fly rather than thud. Theater League's production, directed by Glenn Casale, is remarkably clear, following the rise, fall, and rising of the deaf, dumb, and blind Tommy from jitterbugging '40s to new wave '80s. The concept of having the chorus represent the passing decades works well, and choreographer Mark Esposito gives the high energy cast great moves, even as the plot crawls. With impressive musical director Lloyd Cooper, they draw great vocal performances and movement from the young group, as well as the little acting the show gives them the chance to highlight.
The triumvirate of Eric Kunze, Andrew Martin and the cute Corey Martin do great jobs portraying Tommy at three different stages in his development. Mr. Kunze has an angelic voice, and dances with the divinity his Christ-like character implies. Tammy Amerson and Ray Benson portray Tommy's parents with equally impressive power, though their acting is not quite believable. Ms. Amerson has a luscious voice, and Mr. Benson has a beautiful, though tremulous, tenor voice. The power of the evening, though, comes from the vivid, though unfortunately truncated presentation of Carla Williams as the Acid Queen, who makes her magical appearance near the end of the first act, and serves to dazzle, though also reminding us of the micro-thinness of the plot. Eddie Driscoll is a sleazy Uncle Ernie, though his vocal skills are not quite up to the rest of the ensemble. The only really disappointing performance of the evening comes from Matt Zarley as punk Cousin Kevin, whose dance skills are adequate, though his acting and singing are subpar.
The simple set works well for the production, and Kim Killingsworth's rock concert-like lighting is dazzling. Just as impressive is Beaver Bauer's costuming, which captures each period in an amazing pinpoint photograph. Mark Cowburn's sound design suffered several moments of feedback and missed mike cues.
It's such a shame that there's nothing to support the heartfelt efforts of cast and crew, but somehow The Who's Tommy has stretched itself with the resulting depth of a Cole Porter musical. Go to enjoy some fabulous performances, a great light show, and maybe to stroll through your memories of the album and movie.
Production Details:
The Who's Tommy Music &
Lyrics by Pete Townshend. Book by Pete Townshend
& Des McAnuff. Additional Music & Lyrics by John
Entwistle & Keith Moon
Theater League
Orpheum Theatre, Phoenix
(602) 952-2881
February 22nd - 27th, 2000